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Questioner

I've read the Mistborn. What's the best way to get the full effect? My brother, I'm introduced him to the Cosmere. We both got into it through, when you finished Robert Jordan's series.

Brandon Sanderson

Full effect of the Cosmere. Do you guys have a non-spoilerific, "Things to watch for"?

coltonx9

There probably is.

Brandon Sanderson

Maybe go on the 17thShard, which is the forum, and say, do you guys have a non-spoiler "Things to watch for" to see the Cosmere connections in action.

Watch for Hoid, obviously. Watch for... people use the wrong words. Like if you ever see anyone in a Stormlight book who accidentally uses soil or coin or things that are just not Stormlight stuff. That is usually a translation error because they're using magical means to translate into the language and they are saying a word and the magic is translating it.

Like, if you just learned the language, you wouldn't make that mistake. That's a pretty big hint that the person is non-native. Watch for the myths and legends that people tell about various places and peoples. It's all just behind the scenes stuff right now. There's nothing that you're going to miss, you're going to be like "Oh no, I don't understand!" The things that are overt connections are meant to be woven into the stories well enough that you wouldn't have to have the intros, ahd the ones that are not are just Easter eggs for now.

Except for things like Arcanum Unbounded, which is presuming you are Cosmere aware.

Brandon Sanderson

Chapter Twelve

The language metaphor I use in this chapter is one of my favorites in the book. Hrathen's attitude can be quickly summed up in the way that he decides it is all right to preach to the people in their own language. He admits that he probably shouldn't do such a thing, but the logical justification is just too strong for him to deny.

Brandon Sanderson

Conclusion

That is about it for the languages in Elantris. There are books for which I’ve spent a lot more time on the languages, but there are also books for which I’ve spent far less. Overall, I like how the sounds in this book add to the feel of the various nationalities, though I realize that Aonic names (in particular) are difficult to pronounce at first. If you have your own way of saying them, well that’s just fine. I do the same thing with books I read.

Brandon Sanderson

Chapter Seventeen

Of all the books I've written, I think this one hearkens most closely to our own world. Usually, when I develop cultures and languages, I try to stay away form basing them too closely on any one Earth society or race. I'm not certain what made me do things differently in Elantris. It's not just fencing–JinDo, with its obvious links to Asian cultures, is a good example too. And Fjorden's language has some obvious references to Scandinavia. (Dilaf's name comes from Beowulf, actually. I named him after Beowulf's heir, Wilaf.)

Anyway, in this chapter we find two very obvious "borrows" from our world. I've always been fascinated by fencing, though I've never participated myself. The idea of turning swordfighting into a sport intrigues me. In addition, I found the light, formalized dueling appropriate to the tone of this book, so I took the opportunity to write it in. (I do realize, by the way, that Hollywood has done some interesting things to fencing. Most real fencing bouts are much shorter, and far less showy, than what we see depicted. This is pretty much true for any kind of fighting, however. Think what you will, but combat is usually brutal, quick, and really not that exciting to watch.

This kind of fighting is very appropriate in some books. However, I allowed myself the indulgence of doing my fencing scenes a bit more flourish than one would find in real life. It felt right in the context to have the participants spar, parry, and jump about for far longer a time than is realistic. If you need justification, you can assume that in Teod, the rules for fencing are very strict–and so it's very hard to actually score a point on your opponent, forcing the battles to be prolonged.)

The other item of interest in that scene is, of course, Shuden's ChayShan dance. As mentioned above, his culture is pretty obviously borrowed from Asia. In fact, the link is so strong that some readers have trouble imagining his features as anything but Asian. (Note, once again, that this is not the case. The JinDo have dark brown skin. Though, I guess you'll imagine Shuden however you wish.) The ChayShan is a martial art I devised to feel just a bit like Tai Chi–though ChayShan focuses on speeding up the motions and gaining power from them. I've always kind of thought that Tai Chi would look more interesting if it slowly sped up.

Wantsometrufflesmate

Nale’s nuts sounds like something a world hopper would say...... I mean there aren’t any nut producing plants on Roshar so how would. (Someone’s) nuts be a saying?

Brandon Sanderson

In these cases, you should assume one of two things.

1. It's a linguistic holdover. I like using a lot of these in Stormlight. Human languages still have a lot of terms in them that reference the world they used to live on. (See Hoid's discussion of the word "hound" in one of the books.)

2. We're doing our best to translate into English a phrase that doesn't really work in our language.

Basically, whichever is easier for your suspension of disbelief. With this, I'd say it's likely they said "Nale's Rockbuds" but it's just awkward in English, so when the book was changed from Alethi to English, the translator (me) picked something that conveyed the same meaning.

Brandon Sanderson

The Lenses Of Rashid

I hope the secret with the Forgotten Language wasn’t too obvious. I realize it’s not the most clever twist in the book, since the Forgotten Language was simply hanging out in the narrative, not doing anything useful. Careful readers might have realized that it had to do something in the book, otherwise I wouldn’t have brought it up so often. It’s not a big jump to figure out that the Lenses of Rashid will let you translate things.

However, here’s one thing I bet you didn’t know. The word Rashid refers to an actual place. It’s a harbor city in Egypt, made famous for a certain rock discovered there. In English, we actually pronounce Rashid differently–we say “Rosetta.” So, yes, the Sands of Rashid–and therefore the Lenses of Rashid–are named after the Rosetta Stone, which was the famous stone discovered that helped people finally translate Egyptian Hieroglyphics.

Questioner

A question about Jasnah and your relation to Jasnah. She's a Veristitalian... Is that a part of Jasnah that is you, or is that a part of Jasnah that's somebody else?

Brandon Sanderson

The fascination with history and trying to use it to change the present is me. And that is the part of Jasnah that I-- Also, by nature, I'm kind of a Slytherin. And so would Jasnah. That part of me is there. The "do-gooder Slytherin," if that's not an oxymoron.

Questioner

And does the word Veristitalian come from "veritas"?

Brandon Sanderson

Yes. So, in their language, it would not actually be Veristitalian. What I do is, my books, I pretend they're in translation. So when Wit makes a pun, or when you see something that echoes Latin or Greek, the idea is that they are echoing in-world ancient languages that we have chosen, instead of transliterating, to actually translate so it gives the right feeling in English.

Brandon Sanderson

You're going to make me. They're trying to get me to canonize Endowment's gender. *crowd goes oh* ...Yes I have... I'm going to look at the thing that you guys would just love to see--

Kendra Wilson

So now's not the time to snatch that?

Isaac Stewart

It's encrypted, we've been developing a language that only we can read. *laughter* It's all in glyphs.

Zach Stay

Is it in the women's script? 

Eric Lake

Should we get Mi'chelle over here?

Isaac Stewart

It’s in a language that will never be decrypted...

Brandon Sanderson

I can't find-- Karen must have moved this. I have the name in here. I haven't canonized the name either have I?

Kendra Wilson

We don’t know. You can put that information on there too.

Brandon Sanderson

Yeah but Karen moved it.

Zach Stay

People have guessed that it's Edgli but..

FeatherWriter

I think it’s gotten RAFO'd before...

Brandon Sanderson

*writes* Endowment is female.

There you go. You guys got two big ones out of me.

Paleo (paraphrased)

Since your books are "translations" from another language and "Hierocracy" is a foreign word in English, is it also a foreign word in the original language?

Brandon Sanderson (paraphrased)

No, but good question.

Jack Milson

How many Awakening Commands are there? Is there a finite number, a finite but large number or infinite? Can you Awaken with sign language?

Brandon Sanderson

Yes, you can Awaken with sign language. I would say that there are an infinite number, would be my guess. It's either finite but very, very large or infinite. But they're gonna fall into groups as things tend to do in the Cosmere, I would say.

Questioner (paraphrased)

[Why did Syl use the word "thy" after Kaladin spoke the words of the Third Ideal?]

Brandon Sanderson (paraphrased)

Because in their language she was using a more antiquated version of their language, and so that's the best English translation.

Questioner

You mentioned Star Wars, and you mentioned Elantris. I know you went back and did some rework on Elantris. How often do you-- How do you resist the urge to go back and rework your earlier books?

Brandon Sanderson

It's kind of a balancing act because-- There's a famous quote that people attribute to Da Vinci (though I don't know if it was really him) that says, "Art is never finished; it's only abandoned." Which is quite true. Every book could have taken another year, another two years, another five years, and become a different book as you're working on it. And I think there is a balance to be found between fixing continuity errors and improving the experience, versus changing the book into something else. With Elantris, when we did the tenth anniversary [edition], we tried to hold ourselves strictly to continuity errors. Things that were being fixed were language cleanups; kind of like the digital remaster of a DVD, where it's the same thing, but times where I misused commas or I used this word a little too much, we cleaned it up to make the experience better. Or, in one case, someone looks out and sees Elantris from a point in the city where they were facing the wrong way. Stuff like that.

The only time I have done more than that was experimenting with the end of Words of Radiance. And because-- My big concern with that is, I made some tweaks for the paperback, and then it raised lots of questions of "Which one is the canonical answer?" Which was too confusing for fans. I don't care if fans get confused on "What's the canonical answer of which direction this character was facing in this scene?" It doesn't really matter. But which is the canonical answer of what big decision a character makes does raise enough concern that I probably won't do it.

But I don't know. Grandpa Tolkien went back and changed The Hobbit to match Lord of the Rings. And when I read The Hobbit, that improved the experience for me, because I was reading it years and years later. I can see how it'd be confusing if people loved The Hobbit beforehand. But it ended up making a better story overall. So, I don't know. It's more about just finding the balance that we think is the right balance as we release these tenth anniversary editions of my books where we're cleaning up the language and things like that. I don't anticipate doing large-scale changes, unless they're for continuity reasons, moving forward.

Questioner

Is the Dawnchant native to Roshar?

Brandon Sanderson

...Yeah. Dawnchant is what they were speaking when humans came over. It is their language. It is the Dawnsingers' language. So yeah, that is native to Roshar.

Lacrosse Demon

Hoid’s fixing of Charlie’s cryptic event, “curse” to “versed,” makes Aons seem more syllabic rather than logographic. Is that just a casualty of Hoid’s fairytale narrative? Will we see a more in-depth look at the concept of Aonic curses and curse-breaking?

Brandon Sanderson

Good question. It is really hard, number one, to convey that in the original text, that pun would have been a different pun. It would have worked differently. And, in fact, you can have a logographic pun. And I imagine that it probably was. I imagine that what’s going on with Wit is, like, adding a stroke, which then changes the entire meaning of what’s going on. Though, do remember that the way Aons work, they kind of work like a programming language, so you could kind of add in actual, like, “this next text is a verse.” Imagine putting it in quotation marks, and things like that. We are extrapolating on that with meaning, rather than sounds. I think it works, but probably different than the actual text of Tress manifest to us, but that’s the best way the translator (myself being the person that translated it into English) was able to indicate it.

For those who don’t know, I use Tolkien’s explanation for all of these things. I think it was brilliant. He said, “All the texts were written in a foreign language that you couldn’t read. And they have been translated into English, and some accommodations have been made in order to make things like puns still puns, even though they wouldn’t have rhymed in the original.

Questioner

In Stormlight, so many of the names of things are pairs of words, like the glyphpairs or something...

Brandon Sanderson

Yeah it's the glyphpairs, those are very big parts. You'll find it common throughout my writing though because, in my studies of languages, I found that most languages that's very common, that's where things come from. English doesn't do it as much, or at least it's not as obvious because we don't have many weird words for things but it's super common throughout linguistics. For Alethi, with the glyphpairs and stuff, it's the way they do things. It's like German, they make a new word by taking two words and smashing them together

Questioner

How long did you keep the whole High dialect being Spook... How long were you waiting to do that?

Brandon Sanderson

How long was I waiting to do High Imperial? Which is Spook's dialect, turned into a pseudo-religious ancient language. Oh, man, that was so much fun. And you know what, that was one I came up with pretty late in the process. Because, if you know about the Mistborn trilogy, Spook became a larger character as I wrote him. The biggest deviation between my original outline for Mistborn and the final of the Era 1 trilogy is that I added a big sequence with Spook in the third book that had not been in the original outline. So, it was pretty late that I decided that Spook would have an influence over that. I just laughed uproariously when I came up with it, so I knew it belonged in the books. But if you haven't read the new Mistborn books, High Imperial is an ancient and important language.

BipedSnowman

This is just a little thing I thought of that is kinda neat. Symmetry on Roshar is seen as holy, but the letter H can be used in place of another consonant without "spoiling" the symmetry.

Is this because of the spelling of the name Honor? If the H is a stand-in for the R, it makes the name symmetrical.

Dickferret

Where is the "h" thing mentioned?

BipedSnowman

I am copying this from somewhere else, but apparently WoR chapter 47. (I guess i tagged the post wrong, but it's just barely a spoiler anyway.)

""Bajerden? Nohadon? Must people have so many names?" "One is honorific," Shallan said. His original name wasn't considered symmetrical enough. Well, I guess it wasn't really symmetrical at all, so the ardents gave him a new one centuries ago." "But ... the new one isn't symmetrical either." "The 'h' sound can be for any letter," Shallan said absently. "We write it as the symmetrical letter, to make the word balance, but add a diacritical mark to indicate it sounds like an h so the word is easier to say." "That - One can't just pretend that a word is symmetrical when it isn't!" Shallan ignored his sputtering [...]"

pwnt1337

Is this similar to the many interpretations of the spelling and pronunciation of YHWH?

Brandon Sanderson

Hebrew, among a few other languages, is an inspiration for some languages in the cosmere. (One of them is Alethi.) That said, in this case it's more like how in some Asian countries, they would give honorific names to famous scholars or rulers after they pass away.

Questioner

<How do you develop/create names?>

Brandon Sanderson

It depends on the book. Usually I develop the language and sounds that are going to be used in the language and then I try to build names out of it, but sometimes there is trick like in Alethi with symmetrical names and I focus a little more on that.

So it just depends on the book.

izyk

You mentioned in an earlier answer that learning to revise was one of the biggest factors in making your work publishable.

Would you give us an idea of the process you go through when you revise?

Thanks!

--Isaac

Brandon Sanderson

Thanks for the question, Isaac! (Isaac, by the way, is the person who introduced me to my wife and set us up on our first blind date.)

I view working on a book in the same way a sculptor might view working on a block of wood. The first draft is generally focused on getting things in place so I can work on them. In essence, I cut out the crude features of the sculpture—but when it's done, there is still a lot of work to be done. Readers who see the book in this stage can tell what the basic arcs and characters will be, but the emotional impact is lessened by the crude edges and unfinished lines.

Here's my process in a nutshell:

Draft one: Write the book in draft form.

Draft two: Read through the entire book, fixing the major problems. Often, I'll change character personalities halfway through the first draft as I search to figure out how I want the character to sound. I don't go back then and revise, as I need to try out this personality for a while before I decide to actually use it. Similarly, often I'll drop in new characters out of the blue, pretending that they've been there all along. In the second draft, I settle on how I want things to really look, feel, and work.

Draft three: Language draft. Here I'm seeking to cut the book down by 10%. I write with a lot of extra words, knowing I'll need a trim. This will make the prose more vibrant, and will make the pacing work better.

In a perfect world, this is where I writing group the piece and/or send it to my editor. (For lack of time, my writing group is getting Draft Two of The Way of Kings. Hopefully, I'll be able to do draft three by the end of the year.)

I let readers read the book, and I take some time off of it. I begin collecting things I want to change in the book in a separate file, called "Revision notes for ***", listing the name of the book. I organize these by character and by importance and/or pervasiveness. For instance, a need to rewrite a character's motivations will be at the top. Fixing one specific scene so that it has proper foreshadowing will be near the bottom.

Once this is all done, and I've gotten feedback and had time to think, I read through the book again with my revision notes file open beside the book file itself. I actively look for places to change, kind of like a sculptor looking over the statue and seeking places to knock off jagged chunks and smooth out the sculpture’s features.

I'll do this process several times, usually. In-between, I'll often do line-edit drafts, like the language draft above, where I'm focused on getting rid of the passive voice and adding more concrete details.

Brandon Sanderson

Folks,

I've turned my full attention back to this book, and have done a heavy rewrite of Chapter One, which helped me pound out who Midius is (in my mind at least.)  You can see the effect your comments had.  Here's the new version.  As always, comments are welcome!

Brandon Sanderson

All, here's an experimental change I'm considering for the Theus chapters (and note the new Midius chapter at the bottom of the previous page.) I think this may soften the brutality somewhat, even though it's all still there. It will make for a drastic change in feel for the king as a character, but I'm very tempted to do this instead. Reactions?

NEW CHAPTER TWO BEGINNING

It’s a bad day to kill, Theusa thought. Too cloudy. A man should be able to see the sun when he dies, feel the warmth on his skin one last time.

She marched down the dusty path, crops to her right and left, guards behind her. The men of her personal guard wore woolen cloaks over bronze breastplates. Bronze. So expensive. What farming supplies could she have traded for instead of the valuable metal armor?

And yet, she really had no choice. The armor meant something. Strength. Power. She needed to show both.

Several of the soldiers pulled their cloaks tight against the morning’s spring chill. Theusa herself wore a woolen dress and shawl, the copper crown on her head the only real indication of her station. King. It had been twenty-some years since anyone had dared question her right to that title. In the open, at least.

Her breath puffed in front of her, and she pulled her shawl close. I’m getting old, she thought with annoyance.

Behind her towered the grand city state of Partinel, circled entirely--lake and all--by a rough stone wall reaching some fifteen feet high. The wall had been commissioned, then finished, by Yornes the grand, her father-in-law. She’d married his son, Didarion, in her twenty-third year of life.

Didarion been a short time later. That had been almost thirty years ago, now.

Old indeed, Theusa thought, passing out of the ring of crops. Partinel’s trune ring was one of the largest in the Cluster, but it still provided a relatively small area in which to grow food. They grew right up to the edge of the city wall in a full circle around the city. Running in a loop around them was a narrow, earthen road. Beyond that, a wide patch of carefully-watched and cultivated walnut trees ran around the city. Her people cut down one group of trees every year and planted a new patch. It was a good system, giving them both hardwood for trade and nuts for food. In the Cluster, no land could be wasted.

Because beyond the trees, the land became white. The walnuts stands marked the border, the edge of Partinel’s trune ring and the beginning of fainlands.

Theusa could see the fain forest through a patch of walnut saplings. She paused, looking out at the hostile, bleached landscape. Bone white trees, with colorless undergrowth twisting and creeping around the trunks. White leaves fluttered in the breeze, sometimes passing into the trune ring, dusted with a prickly white fungus.

Skullmoss, the herald of all fain life. Her soldiers and workers gathered the leaves anyway and burned them, though it wasn’t really nessissary. Though eating something fain--animal or plant--was deadly to a human, simple interaction with it was not. Besides, fain life, even the skullmoss, could not live inside of a trune ring.

That’s how it had always been. White trees beyond the border, trune life within. People could go out into the fainlands--there was no real danger, for skullmoss couldn’t corrupt a living creature. Some brave cities even used fain trees for lumber, though Theusa had never dared.

She shivered, turning away from the fain forest and turning to where a group of soldiers--with leather vests and skirts--stood guarding a few huddled people. The prisoners included one man, his wife, and two children. All knelt in the dirt, wearing linen smocks tied with sashes.

The father looked up as Theusa approached, and his eyes widened. Her reputation preceded her. The Bear of Partinel, some called her: a stocky, square-faced woman with graying hair. Theusa walked up to the kneeling father, then bent down on one knee, regarding the man.

The peasant had a face covered in dirt, but his sandaled feet were a dusty white. Skullmoss. Theusa avoided touching the dust, though it should be unable to infect anything within a trune ring. She studied the man for a time, reading the pain and fear in his face. He lowered his eyes beneath the scruitiny.

“Everyone has a place, young man,” she finally said.

The outsider glanced back up.

“The people of this city,” Theusa continued, “they belong here. They work these crops, hauling water from the stormsea to the troughs. Their fathers bled to build and defend that wall. They were born here. They will die here. They are mine.”

“I can work, lady,” the man whispered. “I can grow food, build walls, and fight.”

Theusa shook her head. “That’s not your place, I’m afraid. Our men wait upon drawn lots for the right to work the fields and gain a little extra for their families. There is no room for you. You know this.”

“Please,” the man said. He tried to move forward, but one of the soldiers had his hand on the man’s shoulder, holding him down.

Theusa stood. Jend, faithful as always, waited at the head of her soldiers. He handed Theusa a small sack. She judged the weight, feeling the kernels of grain through the canvas, then tossed it to the ground before the outsider. The man looked confused.

“Take it,” Theusa said. “Go find a spot of ground that the fainlands have relinquished, try to live there as a chance cropper.”

“The moss is everywhere lately,” the man said. “If clearings open up, they are gone before the next season begins.”

“Then boil the grain and use it to sustain you as you find your way to Rens,” Theusa said. “They take in outsiders. I don’t care. Just take the sack and go.”

The man reached out a careful hand, accepting the grain. His family watched, silent, yet obviously confused. This was the Bear of Partinel? A woman who would give free grain to those who tried to sneak into her city? What of the rumors?

“Thank you, lady,” the man whispered.

Theusa nodded, then looked to Jend. “Kill the woman.”

“Wha--” the outsider got halfway through the word before Jend unsheathed his bronze gladius and rammed it into the stomach of the kneeling outsider woman. She gasped in shock, and her husband screamed, trying to get to her. The guards held him firmly as Jend pulled the sword free, then he cut at the woman’s neck. The weapon got lodged in the vertebrae, and it took him three hacks to get the head free. Even so, the execution was over in just a few heartbeats.

The outsider continued to scream. Theusa stooped down again--just out of the man’s reach--blood trickling across the packed earth in front of her. One of the guards slapped the outsider, interrupting his yells.

“I am sorry to do this,” Theusa said. “Though I doubt you care how I feel. You must understand, however. Everyone has a place. The people of this city, they are mine--and my place is to look after them.”

The outsider hissed curses at her. His children--the boy a young teen, the girl perhaps a few years younger--were sobbing at the sight of their mother’s death.

“You knew the penalty for trying to sneak into my city,” Theusa said softly. “Everyone does. Try it again, and my men will find the rest of your family--wherever you’ve left them--and kill them.”

Then, she stood, leaving the screaming peasant behind to yell himself ragged. Theusa’s personal guards moved behind her as she returned to the corridor through the wheat, Jend cleaning his gladius and sheathing it. Over the tops of the green spring plants, Theusa could see a man waiting for her before the city.

(Edit, cleaned up language.)

Brandon Sanderson

Thanks for the comments, folks.  A new version has been uploaded, mostly making minor tweaks as suggested by db.  Some good points, and the prose needed streamlining.

Dawn:

For some reason, this just feels less brutal to me.  Theusa's language is softer than Theus's had been, and I think more reasonable.  Still brutal, yet somehow it works better for me.  That might just be because I've seen (and written) too many characters that feel like Theus, and changing the character to a female (who's a bit older, and who is arguably the legitimate ruler of the city) makes them feel a lot more exciting to write. 

Gruff, Gritty, Male solder king: Feels overdone.

Gruff, gritty, grandmother king: Not so much.

I know it's more about how well the character is done, and less about whether it's been done before or not.  However, excitement on my part seems to make for a better story over-all.  So, I'm wondering if this character will be more exciting for me this way, or just much more trouble.  (I'll have to think of what to do for the next Theus chapter, for instance.  I really liked the fight there, and I can't really put Theusa in the same role.)

Brandon Sanderson

DavidB

There are, unfortunately, reasons why I have to start the book where I did.  I can't get into it without major spoilers.  You are perfectly right about this chapter lacking a hook, which is why I decided from the get-go that I'd need to start with a scene from the middle of the book, then jump back. 

So, this chapter should be considered the SECOND, and not the one that introduces Midius's character. 

My goal is to try some new things with this book.  Who knows if it will work, but they will present narrative challenges for me, because even when we flash back, we're starting in the middle of a story, with Hoid already dead.

Brandon Sanderson

I'll admit, I'm really torn on this one.  I can't quite decide which way to go.  The thing is, I've been thinking about the characters so much that they're both--Theus and Theusa--now formed in my head.  I know their motivations and their feelings, but I can only use one of them.  

With Theus I gain the ability to have he, himself fight.  I can show him with his family, which could really round out his character.  Yet, I worry that he's too similar to other characters I've written.  (Cett and Straff both come to mind from the Mistborn trilogy, though neither of them are as rounded, as well as Iadon from Elantris.  I've done a lot of brutal rulers.)   

With Thesua, I lose the two things I mentioned above.  I couldn't soften her by showing a spouse and children, and while she'd still have a daughter, I don't see the child being as much of an influence on reader opinion.  And, there would be less action in the book by a slight amount as Theusa will not be a warrior, and will have to rely on Jend to do her combat.   

However, I gain a tad of originality.  (How many tyrant grandmother city-state rulers are there in fiction?  Have to be fewer than men like Theus.)  I also gain some subtlety--Theusa's rule would be much more tenuous, because of her gender, and there would be a lot of politics working against her.   

Both would play off of Yunmi very well, if for different reasons.  Midius's interactions lean slightly toward me liking Theus, but not a huge amount.   

I keep going back and forth on this one.  So, I'll put off the decision until tomorrow and write a Yunmi chapter instead.  Huzzah!

Brandon Sanderson

After much playing with the plot and wrangling, I've decided to go with the male version of the character.  The new Midius chapter is here to stay, however.

I'll just have to do the old grandma tyrant king in some other book. 

Adam Horne

People were looking for a clarification on the spelling of Lumar, if you know the spelling.

Isaac Stewart

L-U-M-A-R. I mean, I guess we've canonized it now, huh.

Brandon Sanderson

Isaac named it, I said "Hey, come up with a good name for this."

Isaac Stewart

I can tell you, kind of, the process if people want to know about that. I put together some different things. "What are things that have resonance with The Princess Bride?" was one of the things, and I gave Brandon some options in that direction.

Brandon Sanderson

Which I didn't like many of.

Isaac Stewart

There was maybe one or two that felt like it. It was sort of in a way, not tuckerization, but sort of an homage to the roots of the story. Those weren't working, so we just went to: what are common root words for things in the story that make it feel that way, and that's where we came up with Lumar. It was a little more straightforward and simple than some of the other names of planets in the Cosmere, and we liked that it felt like it worked with the main character.

Brandon Sanderson

And also the fairy tale feel of it. Naming this planet something like Scadrial didn't feel right to me either, because where this planet came from and the story and things like that, plus this is likely to be the name... A lot of these names, like if you translate in world, a lot of the characters would call their planet "the planet," right? They are not going to name their planet. So when a person--in most of the books when I translate them talking about Roshar, I'm translating them referencing the planet or their word for it in their own individual language, which is going to be different in everybody's language, just for convenience sake. And we felt that the root words of this are what people would latch on to in-world, in-universe for calling this planet. The two words mashed together, are very, uh, yeah.

Isaac Stewart

I guess if you're on Roshar, you wouldn't be technically digging in the earth, you'd be digging in the Roshar.

Brandon Sanderson

Yes. Well, they don't have a lot of earth, but you know. If you use the word earthquake, right? I have chosen that I will use the word earthquake on all these planets even though none of them are earth. That's just how I'm translating, just add that filter that someone's translated this into English, and they've chosen the best word for your understanding, and we think that Lumar covers what they in-world would call this and evokes the same feeling.

Keoni9

Unless you are using it to describe a method of divination, X-mancy probably does not mean what you think it means. -mancy, from the Greek manteia ("divination") cannot be used to denote the magical manipulation or evocation of something. The root you are looking for is -urgy, from Greek ergon ("work").

Glory2Hypnotoad

But fantasy books get a little leeway here because it's generally understood that English is being used as a proxy for an in-world language, so Greek etymology doesn't necessarily apply.

And Brandon Sanderson's admitted that he knows what mancy means, and calling his magic system in Mistborn allomancy was simply a useful tradeoff.

Brandon Sanderson

Yes, I talk about this in the annotations, I believe.

Language shifts. I believe this one has shifted far enough inside the target demographic (fantasy readers) that it would not confuse. In fact, I decided it would be MORE clear to use the 'wrong' term than the right one.

I subscribe to a school of writing philosophy which believes that clarity trumps most other concerns, so I chose to do it this way. (Though this was a specific choice for the Mistborn world, where I was attempting to create resonance as an Earth analogue, so used more familiar sounding names for people and terms. Compare to Elantris, where I instead preferred in-world names and terms which might be harder to say/pronounce but added worldbuilding flavor.)

TheBlueShifting

As a writer I love world building. However the detail and culture of your stories are so incredibly thought out. Do you storyboard and document all the family lines, kingdomes, traditions, languages, ect before hand or do these things evolve as you write them?

Brandon Sanderson

It depends on the book and the worldbuilding element in question. I do some of each, and do more for longer series. I've done a lot more work on the languages of Stormlight, for example, than did on something like The Rithmatist, where I outlined the magic in detail but discovery wrote other parts of the setting.

Brandon Sanderson

Aons are an interesting part of this book–perhaps my favorite of the world elements. If you think about the system I've set up, you'll realize some things. First, the Aons have to be older than the Aonic language. They're based directly off of the land. So, the lines that make up the characters aren't arbitrary. Perhaps the sounds associated with them are, but the meanings–at least in part–are inherent. The scene with Raoden explaining how the Aon for "Wood" includes circles matching the forests in the land of Arelon indicates that there is a relationship between the Aons and their meanings. In addition, each Aon produces a magical effect, which would have influenced its meaning.

The second interesting fact about the Aons is that only Elantrians can draw them. And Elantrians have to come from the lands near Arelon. Teoish people can be taken, but only if they're in Arelon at the time. Genetically, then, the Teos and the Arelenes must be linked–and evidence seems to indicate that the Arelenes lived in the land first, and the Teos crossed the sea to colonize their peninsula.

Only Elantrians can draw Aons in the air, so someone taken by the Shaod must have developed the writing system. That is part of what makes writing a noble art in Arelon–drawing the Aons would have been associated with Elantrians. Most likely, the early Elantrians (who probably didn't even have Elantris back then) would have had to learn the Aons by trial and error, finding what each one did, and associating its meaning and sound with its effect. The language didn't develop, but was instead "discovered."

There are likely Aons that haven't even been found yet.

Brandon Sanderson

Kharbranth

The City of Bells is a true city-state. They have no real authority beyond the city itself, and they trade for everything they need. There aren't Kharbranthian farmers, for example. If commerce were to fail, the city would flat-out collapse.

They do have their own language, as hinted at in this chapter, but it's very similar to Alethi and Veden. I consider the three languages to really be dialects of Alethi, and learning one is more about learning new pronunciations as it is about learning new words. (Though there are some differences in vocabulary.) I would put them even slightly closer than Spanish and Portuguese in our world.

The city origins are a little less proud than they'd tell you. Kharbranth was a pirate town, a harbor for the less savory during the early days of navigation on Roshar. As the decades passed, however, it grew into a true city. To this day, however, its leaders acknowledge that they're not a world power—and might never be. They use games of politics, trade, and information to play Jah Keved, Alethkar, and Thaylenah against one another.

unknown

How come they're still called EARTHquakes in Mistborn?

Brandon Sanderson

I know it's a joke, but I actually have an answer! One I stole from Tolkien, who mentioned all his books are "in translation" to English from an original language--so the translator takes liberties. They're called earthquakes for the same reason that Shallan's puns work in English--the one taking them from the original language to English came up with something that works for us, even if it isn't a one-to-one translation. :)

Questioner

A little while ago, you had a little competition thing with James Dashner... I was wondering, is there some secret writer club where you guys all send each other emails saying, "Oh, in my book, my newest character does this cool thing."

Brandon Sanderson

The truth is, there are kind of some things like that. We have some listservs. But more, it's not on email, it's having dinners, things like that. Particularly people who broke in when I did, like [Patrick] Rothfuss, [Joe] Abercrombie, and some of these guys, we end up at cons kinda the same time, running the same rounds, and end up chatting with each other, and just-- We've become friends that way, and also slightly rivals. You see us doing things like this.

My Abercrombie story. Did you guys see on my Twitter feed? ...I was in Amsterdam, I was running to catch a plane in Amsterdam. I started in London, I had a signing in Calgary. I don't know how that happened, but I needed to do a signing in Calgary. So, I'm through passing Amsterdam. This sounds a lot more glorious than it is. I'm passing through, and I found my book at an English language bookstore in the airport in Amsterdam. So, I did my normal thing, I hurriedly signed it, I stuffed some goodies in it, I took a picture, and tweeted my fans, "Anyone passing through Amsterdam airport, look what you can find!" And then I get a text from Joe Abercrombie where he's like, "Dude, my book was next to yours." I'm like, "Oh, great, nice. Great." And he's like, "No, no. Go sign that." *laughter* Pardon my French but, he might have said, "Go sign that bitch." (That's not me. I don't use language like that.) I'm like, "I'm gonna be late to my flight." He's like, "I don't care, go sign that book!" So I had to run back-- He'd done this over Twitter, so everyone knew he was doing it. So, I had to run back to the bookstore, sign Joe Abercrombie's book. You know, people ask me a lot, when I do these stealth signings, do I ever get caught? No, they never-- If someone starts signing a book, if they see me, what they say is, "Oh, are you the author?" They're used to authors coming through. I've had to show ID once, and it was my picture in the back of the book. But I was sure that this time, they were gonna be like "Oh, Mr. Abercrombie!" And then see the picture in the back of the book and be like, "What are you doing?!?" But that didn't happen, and I made my flight, though I had to-- I was so late, I had to check my bags, there wasn't enough space. That's Joe Abercrombie for you.

So, yeah, we just kind of end up in the same circles, and things.

Brandon Sanderson

All right, so most of you were probably expecting this one to appear sometime today--and here it is. The Previous Update can be found here. As I announced over social media this weekend, I have finished the final draft of Book Four. Rhythm of War is finally done. (Or, rather, my part is done. At least for the prose text of the book. See below.)

I finished the revisions on Saturday, and then today wrote the ketek and the back of the book text. (The in-world text. Tor does the marketing blurb.) The only thing I have left to do is the acknowledgements, plus the ars arcanum. The bulk of the work left to be done will be handled by Peter, my editorial director, who will oversee the copyedit (which is like a really in-depth proofread that also watches for style guide changes and things like in-book continuity) and the proofreads. In addition, Art Director Isaac will be finalizing the artwork done by himself and his artists. (Including Ben, who now works for us full time. He usually drops by the comments to say hi.)

Peter/Isaac's work will take several months to complete, and then the book will be sent separately to the US, UK, and Australian printers for English Language distribution. Excitingly, for the first time, we're hoping to do a simultaneous Spanish launch for the book, and my Spanish publisher has been putting a lot of extra effort into trying to make this happen. So if you live in Spain, and meet my team over there--translator, editor, etc--buy them a drink. They've been putting in some heroic work to try to get this beast of a novel ready in time.

I can't promise timelines for other foreign language editions; but if the Spanish experiment works, we will approach some of our other publishers to suggest trying the same thing with them.

Other random updates of note. The tour seems likely to go digital at this point because of the virus. We'll keep you in the loop. (This will likely include the release party.) Goal is to ship huge cases of books for me to sign so we can get them to partner bookstores for a signed launch, with talks/readings done digitally. Don't consider this an official confirmation of that yet, though. Tor is the one working it out, and we'll need to wait for them to figure out the details.

The kickstarter has been...well, a little crazy. We're in the process of adding new stretch goals; if you didn't see today's update over there, it has a poll of suggested new stretch goal rewards for you to mull over.

So, what's next for me? This week, I'm doing a quick revision of Songs of the Dead, the book-formely-known-as-death-by-pizza, which I'm writing with Peter Orullian. I plan this to take about a week. After that, I'm going to dive into the kickstarter novella, the official title of which I believe we'll be announcing tomorrow.

After that is done, I owe Skyward 3 to my very patient YA publisher, who has been sitting in the wings waiting for eighteen months or so for me to start it. Wax and Wayne 4 will follow, with my goal being to start it January 1st. Skyward 4 (the final book of that series) will follow starting about a year from now. After that, it will be time (already) for Stormlight 5, final book of this sequence of Stormlight novels. (Whew!) That will mark roughly the halfway point of the cosmere.

Thanks, as always, for your patience as I juggle all of these projects. Also, I'll be doing another livestream this Thursday, where I'll be chatting more about the kickstarter and this book (we keep it non-spoiler, so don't worry.)

I'll be turning off inbox replies to this thread, as usual, so I apologize if I don't see your questions here.

With that, I officially conclude my Book Four updates series. Expect to see me back in around eighteen months, January 2022, when I start updates for Book Five. (I do plan to do updates for Mistborn on that subreddit when I start the fourth Wax and Wayne. So if you're really hungry for more rambling posts about in-progress books, you can visit there.)

As always, thanks for everything. You folks are great. It's been quite the pleasure working on these books for you.

Brandon

Questioner

What was the moment that you finally understood that you were an international success?

Brandon Sanderson

The first moment that happened was actually before the Wheel of Time. Things were really starting to take off. Hero of Ages was where it started to really just hit. And I can still remember... my agent, one of their jobs is to go around the world and sell all my books in all the different languages. And they're very, very good at this. Most of the languages you sell the books in, the population of fantasy readers is such that they aren't big checks. We don't do it for the big checks for a lot of these countries. It's just more about how science fiction/fantasy fandom is a big community, and we like having the books. And a lot of the smaller countries, the agent doesn't really earn their money back, but it's still cool to do, so we do it. And I'm used to getting these checks for 50 bucks, or things like this. "Here's your Bulgarian rights at 50 bucks," and you're like "Yes!"

And I opened a check from Taiwan, and I was expecting 50 bucks. And it was 50 grand. So I called the agent, and I'm like, "Hey, you moved the decimal." I legitimately just thought it was a bank error. When you're expecting 50, and it's 50 grand, that's... you know. And my agent said, "Guess what... Turns out Mistborn is a massive bestseller in Taiwan."

Questioner

So you're almost big in Japan?

Brandon Sanderson

Most fantasy authors aren't big in Japan, by the way. Japan's one of the places that's very hard to sell fantasy. The local writing traditions are so strong that they have their own... the anime and manga and light novels and litrpg that traditional Western fantasy just doesn't do very well in Japan. (Which is totally fine. They have lots of cool stuff; I read their stuff.)

But when I got that, and then the other countries started coming in. And instead of being 50 dollars, they'd be 5 grand, or things like this. And you're like, "Oh, something is happening." And my agent's like, "Yeah, something's happening." That's when we first got the inkling.

Daniel Greene

Has there been something [with worldbuilding] you decided to put in that inadvertently has pigeonholed you in a way? Where it’s like, “Oh, that element shouldn’t…” Basically, any regrets, in terms of worldbuilding, that now, in hindsight, that was a little too solid; something you wish you had left a little looser?

Brandon Sanderson

I think one of my big worries for a long time was in the White Sand books. I made a bunch of mistakes there, because it was the first world I ever built. So the magic system in that, there are some very cool things about it; there’s some very non-cohesive things. I had people have the ability to turn sand into water for no good reason, that does not fit the cosmere magic system as it developed. That one, I’m like, “Why did I even put that in?” I think I tried… I can’t remember if we got that cut out, or not. It was in the early drafts of the White Sand graphic novel scripts. I remember trying to cut that out, and I can’t now remember if we got it cut out. It might have been too integral to the story. But regardless, there’s things like that that I’m like “eh…”

I wish I, at the end of the Mistborn trilogy, had been more clear about how many metals there were left to discover. That’s definitely a mistake. But I just went ahead and was like, “You know what? I made the mistake, I’m just gonna explain it after the fact. I made a mistake, and we’re doing it the way I intended it to be, rather than the way it came across.” And I’m okay copping to mistakes and letting people know.

One of the things I keep wanting to do is have Peter, every time a book comes out, release a notes file that’s kind of like… you know how, when a video game gets an update, you have the bug fixes and power rebalances? I want to release a bug fixes and power rebalances thing for this. Where we’re like, “This little aspect of the world just never made sense. We’ve retconned this out. Now you can understand.” Stuff like that, I feel like we should be doing that.

Way of Kings is a great example. Way of Kings ended up using more Earth metaphors than the rest of the Stormlight Archive. If you read Way of Kings, there’s more references to grapes, there’s more references to ravens, because I just was not into the world as well (even after doing all this worldbuilding) as I eventually got into it. I’m like, “They wouldn’t use a raven metaphor here. They wouldn’t say something looks like a flock of ravens. They don’t see ravens.” And finally I said to Peter, “Go ahead and bug-patch these out of Way of Kings, for the newest version.”

I see in the chat, “flock of chickens.” Well, really, it should be “debris flying in front of a storm.” Something that they have seen a lot that becomes a natural metaphor for their language. Not even a flock of chickens, because they don’t see a flock of chickens.

KingOCarrotFlowers

Does "Thaidakar" translate to "Survivor"? If so, in what language?

Brandon Sanderson

No, it does not.

Brandon Sanderson

Chapter Fourteen

Spook Enters the Stage

And so, here we have our first Spook chapter. When I wrote these books, I'd been planning Spook's sections for quite some time and was very excited to write them. As I said earlier, I wrote them all together, like a mini-novel of their own, then interwove them with the Vin/Elend sections and the TenSoon sections.

Spook has always been a personal favorite of mine. His silly nonsense of a language from the first book was a lot of fun, and even then I began planning what I could do with him were I to make him a viewpoint character. The first thing I had to do was, unfortunately, get rid of the dialect—it annoyed too many people, and it just wasn't comprehensible enough.

The second thing I had to do was give him conflict. Clubs's death, and Spook's absence during the Siege of Luthadel, gave me a large chunk of that. But from there I needed more—and I wanted to do something different with Allomancy for him. Hence the idea of the tin savant, a person who has burned and flared tin so much that it has changed his body.

We'll get a lot more on this as the book progresses. However, my feeling has been that these novels have focused too much on the powerful and the very capable. I love Vin's and Elend's scenes, but we needed something from someone a little bit lower on the power scale. I wanted to do these Spook sections to show someone more average, someone most readers usually ignored, doing amazing things.

Originally, I wrote Spook a little bit more unhinged. He was cocky in his new powers to the point of being a little too off-putting. During the final revision—the one where I added Sazed's studies of the religions—I backed off on Spook's intensity in these first few chapters from his viewpoint, trying to make him a little more sympathetic and a little more trustworthy.

Yes, he's done serious damage to his body by ignoring the advice not to flare his metal too much. (See book one where Kelsier gives this same advice to Vin.) However, he now recognizes what he's done and explains why he's doing it.

Other than that, this is another setup chapter reintroducing us to Spook, giving us his motivations and place in the book, and showing off his magic a little. The next chapter from his viewpoint has a lot more going on.

Questioner

Did the Dawnchant originate on Roshar?

Brandon Sanderson

The Dawnchant originate on Roshar? Um, the Dawnchant… Yes… What I won't tell you or not is whether the Dawnchant is an evolution from a different language, but the Dawnchant itself is from Roshar.

lupicorn

Hi Brandon,

I was wondering about how color-based magic like Soulcasters would work before the terms that define the colors existed. I know the Spiritual Realm is supposed to be associated with color and sound (maybe due to the mathematical basis of wavelengths?), but it doesn't seem like the exact wavelengths of the gemstones used in Soulcasters matter as much as whether they're understood as being specific colors. Does the existence of a color category precede the existence of a distinct magical effect or would the effect exist regardless? Like, before the language of the first inhabitants of the Rosharan system had words to differentiate between green and yellow would heliodors and emeralds have produced the same effect? Or smokestone and amethyst before the existence of the blue category?

I have a feeling the answer is going to be similar to why the Bands of Mourning couldn't be used before they were known to be the Bands of Mourning but I thought I'd ask.

Brandon Sanderson

So, the color theory things in a lot of the cosmere are deeply integrated with the ideas of perception. I've mentioned before that some gemstones, for example, are nearly identical chemically, but are different colors--and so work differently in the magic. This is about perceptions.

Linguistics certainly has a hand in shaping our perceptions of things. And so yes, the direction you're theorizing here has merit, but I'm going to have to RAFO details for now.

yulerule

So, we have Shard names; Ruin, Preservation, Harmony, Cultivation, Honor, Ambition, Autonomy, Devotion, Dominion. Those are pretty much regular English words. And then we have Odium. That's a little more Latinate. It's not-- It doesn't fit the pattern.

Brandon Sanderson

So I don't really look as something as Latinate or Germanic, when I'm picking the names usually.

yulerule

But this one is more. Even in Devotion or Dominion, they're still more regular English. Why?

Brandon Sanderson

I just look for the thing that feels right. Remember, all these words are in translation. When you read the book, they were a word in the original language of the book, that then we have translated to English. And so, don't look to much about what's Greek, what's Latin, what's Germanic. I will mix those a lot. And that's just because I'm looking for the word that has right resonance in English, that I'm writing in. You might even find Latin and Greek mixes in some of my stuff. And that's not done to be like, "Oh, you should be paying [attention]." Usually, I'm just looking for a flavor.

yulerule

So it's the flavor-- Because I actually did have it - they're all translations, why not Hatred [instead of Odium?] 

Brandon Sanderson

Because Odium is cooler. It just sounds cooler. There is no answer other than "I like the word better."

yulerule

Is there any connection with the thought that it's not Hatred? Because in Oathbringer, he says he's Passion?

Brandon Sanderson

He would claim that he's Passion and not Odium. But that is part of why I chose it. Hatred felt too on-the-nose, because there is quite arguably that step toward just being all Passion, and that's what he claims that he is.

yulerule

His own perception of himself, can perception, in the cosmere, can that influence?

Brandon Sanderson

Yes, it can influence.

yulerule

So the Shard's Intent can--

Brandon Sanderson

Can be influenced by their perception and the holder's, yes.

Argent

Obviously you've developed the writing system of Scadrial at least to the level of an alphabet, but have you worked beyond it? Are there any plans to release in-world art, and specifically writing, similar to how Stormlight has them?

Brandon Sanderson

I didn't dig too far into the languages of Scadrial, at least not in First/Second era. It fits into my targeted worldbuilding philosophy--if I tried to do everything in every world, I'd never actually release any books. So I target my worldbuilding at the things that are relevant to characters/plots.

So I'm not planning anything like that for Era One or Two currently.

Questioner

In Herdazian, is there no personal pronoun, and that's why Lopen always refers to himself as "The Lopen"?

Brandon Sanderson

No, that is his personal thing. In Rock's language, most nouns are gendered, masculine, which is why you always see him flipping-- screwing that up. But Lopen, just his thing. Just his thing.

Suk

Is "Adonalsium Will Remember Our Plight Eventually" a single word in Threnodite that you are translating into English for the readers?

Brandon Sanderson

Nope. It's as awkward in their language as it is in ours.

Brandon Sanderson

PART ONE: SECRET PROJECT UPDATES (Long—but important.)

Traditionally, the first big section of each State of the Sanderson focuses on my year and what I’ve written. I’m going to bump that down, however, and talk to you a little about the Kickstarter books—and what you all can expect. This is important information if you’re interested in the Secret Project books at all, regardless of whether you backed the Kickstarter or not. However, if you did back the Kickstarter, expect an update email in the next couple days with more details and instructions to prepare for the Year of Sanderson.

EBOOKS for BACKERS

On January first (and every three months thereafter) you will get an important email from us. In it will be a link to your BackerKit account, where you can download your copies of the Secret Projects. These will be DRM-free copies, in your choice of Epub or PDF. We will also include some instructions on how to get these onto common e-readers, like Kindle, if you want to read that way. It’s extremely important that your email address filed with BackerKit be up to date. If you aren’t sure, look HERE. 

EBOOKS for NON-BACKERS

If you didn’t back the Kickstarter, but want to read the books (and I hope you do!) they’ll be available starting the 10th or 11th of each month that a book ships to the backers. You’ll need to wait just a little longer than them, as we want to be absolutely certain that everyone has their copies and all is working before we sell them to anyone else. But they should be available on all platforms you expect—at least in English. 

AUDIOBOOKS for BACKERS

If you chose a backer tier in the Kickstarter that included audiobooks, you are going to have three ways to get your books. This is probably the most important section here, as—looking at the numbers—the majority of my fans prefer audiobooks these days. So pay attention.

FIRST: AUDIO FILES. You will be able to click that same link in your email to download the raw files in mp3 and m4b format, to put onto your device and listen as you want. We’ll include instructions on how to download and use a common audiobook player. This is because these books won’t be on Audible—we’re selling them ourselves. Indeed, one of the big reasons I did this Kickstarter like I did is because I worry about Audible’s dominance in the market. For that very same reason, I’m suggesting that instead of just listening to the raw files, you look at one of our partners listed next.

SECOND: SPOTIFY. Yes, Spotify does audiobooks now; they launched this in the US, UK and Australia earlier this year. And so, I’m extremely excited to say I’ve reached a deal with Spotify to distribute the Secret Projects—free for every backer who pledged a tier that included the audiobooks. Again, clicking the link in the email mentioned above will take you to a page that lists all your available downloads, as well as a unique code for Spotify. You’ll be able to use this code to unlock a free copy of the first Secret Project and listen on Spotify. (And you’ll get a new code every three months for the next ones.)

You need a Spotify account to do this (they are free), which is why we’re also giving you the option of the raw files. Using Spotify or our next partner isn’t required—however, I want to encourage it. I’ll explain more below, but I’m hoping that bolstering real competition to Audible will help all authors going forward. For the same reason, we have a third partner.

THIRD: SPEECHIFY. Speechify (no relation to Spotify) is a really cool service that does text-to-speech for people. It started as a tool to help those with dyslexia, something that is very important to me, as the father of a dyslexic son. (He uses his Speechify tablet daily to help him with his disability.) Speechify’s big thing is letting you see the text as you listen, to help both with reading comprehension and disability. And that they can turn any ebook or PDF into a high quality audiobook for you.

I have really enjoyed working with this company, and they want to move into a larger market. (They already have a sizable number of subscribers, but want to draw attention to their service by starting to offer audiobooks and ebooks for sale.) They have agreed to give each applicable backer an audiobook for each Secret Project as well. This makes it easier for you to access the books on your phones, so you don’t need to figure out how to download a massive audio file and lose your place in the book. Your unique code for Speechify will be available on that same BackerKit page, where you will find your available downloads. To get ready, just download Speechify by visiting https://speechify.com/sanderson (signing up is free). And you’ll get a new code every three months for the next ones.

Though keep in mind that Speechify’s audiobook store currently works only on iOS for iPhones with iPad support coming in January; their other products on Android, Web, and Google Chrome are due to add audiobooks and ebooks later in 2023. 

So feel free to pick your way to get the book! Or download all three versions, and see which experience is best for you! 

The only thing I ask is that, on your honor, you don’t give away or sell the codes. I’m giving you three options as a way to make this as convenient for you as possible, which is also the reason that the files from me also have no DRM. As always, I don’t mind (I even encourage it) if you share my books with family and friends, but in this case I would greatly prefer if you didn’t give away the extra codes you get. 

I’ll dive deep into more of why I picked these partners in the next section, which I encourage you to read, even if you’re a backer. 

AUDIOBOOKS for NON-BACKERS

On the tenth or eleventh of each month a book goes to backers, we will put the audiobooks up for sale. They will be on several services, but I recommend the two I mentioned above. Spotify and Speechify. 

The books will not be on Audible for the foreseeable future. 

This is a dangerous move on my part. I don’t want to make an enemy of Amazon (who owns Audible). I like the people at Audible, and had several meetings with them this year.

But Audible has grown to a place where it’s very bad for authors. It’s a good company doing bad things. 

Again, this is dangerous to say, and I don’t want to make anyone feel guilty. I have an Audible account, and a subscription! It’s how my dyslexic son reads most of the books he reads. Audible did some great things for books, notably spearheading the audio revolution, which brought audiobooks down to a reasonable price. I like that part a lot.

However, they treat authors very poorly. Particularly indie authors. The deal Audible demands of them is unconscionable, and I’m hoping that providing market forces (and talking about the issue with a megaphone) will encourage change in a positive direction.

If you want details, the current industry standard for a digital product is to pay the creator 70% on a sale. It’s what Steam pays your average creator for a game sale, it’s what Amazon pays on ebooks, it’s what Apple pays for apps downloaded. (And they’re getting heat for taking as much as they are. Rightly so.)

Audible pays 40%. Almost half. For a frame of reference, most brick-and-mortar stores take around 50% on a retail product. Audible pays indie authors less than a bookstore does, when a bookstore has storefronts, sales staff, and warehousing to deal with. 

I knew things were bad, which is why I wanted to explore other options with the Kickstarter.  But I didn’t know HOW bad.  Indeed, if indie authors don’t agree to be exclusive to Audible, they get dropped from 40% to a measly 25%. Buying an audiobook through Audible instead of from another site literally costs the author money. 

Again, I like the people at Audible. I like a lot about Audible. I don’t want to go to war—but I do have to call them out. This is shameful behavior. I’ll bet you every person there will say they are a book lover. And yet, they are squeezing indie authors to death. I had several meetings with them, and I felt like I could see their embarrassment in their responses and actions. (Though that’s just me reading into it, not a reference to anything they said.) 

Here’s the problem. (I’m sorry for going on at length. I’m passionate about this though.) There are no true competitors to Audible. Sure, there are other companies that can buy your book—but they all just list on Audible, and then take a percentage on top of what Audible is taking. Apple? Their books come in large part from Audible. Recorded Books? They are an awesome company, whom I love, but their biggest market is Audible. Macmillian, my publisher? They just turn around and put the books on Audible.

I had a huge problem finding anyone who, if I sold the Secret Projects to them, wouldn’t just put them on Audible—and while I can’t tell you details, all of their deals are around the same low rates that Audible is paying indie authors. Audible runs this town, and they set the rates. For everyone. Everywhere. (I had one seller who really wanted to work with me, who will remain unnamed, who is consistently only able to pay authors 10% on a sale. For a digital product. It’s WILD.) 

I found two companies only—in all of the deals I investigated—who are willing to take on Audible. Spotify and Speechify. My Spotify deal is, unfortunately, locked behind an NDA (as is common with these kinds of deals). All I can say is that they treated me well, and I’m happy. 

Here’s where the gold star goes to Speechify. Let me tell you, they came to me and said—full of enthusiasm for the project—they’d give me 100%. I almost took it, but then I asked the owner (who is a great guy) if this was a deal he could give other authors, or if it was a deal only Brandon Sanderson could get. He considered that, then said he’d be willing to do industry standard—70%—for any author who lists their books directly on Speechify a la carte. So I told him I wanted that deal, if he agreed to let me make the terms of our deal public. 

I’ve made enough on this Kickstarter. I don’t need to squeeze people for every penny—but what I do want to do is find a way to provide options for authors. I think that by agreeing to these two deals, I’m doing that. We have the open offer from Speechify, and we have Spotify trying very hard to break Audible’s near-monopoly. 

I hope this will rejuvenate the industry. Because I do like Audible. I worry that they’ll stagnate, strangle their creators, and end up burning away because of it. Real competition is good for everyone, including the companies themselves. Lack of it leads to a slow corporate death. 

So I’m not putting these books on Audible. Not for a year at least. Maybe longer. I need to be able to make a statement, and I realize this makes it inconvenient for many of you. I’m sorry. I really am. And I know it’s going to cost me a ton of sales—because right now, people tend to just buy on the platform they’re comfortable with. The Lost Metal preorders were 75% audio—almost all through Audible. I know many of my fans, probably hundreds of thousands of them, simply won’t buy the books because it’s super inconvenient to go somewhere else. Indeed, Audible locks you into that mentality by making you sign up for a subscription to get proper prices on audiobooks, which then makes you even more hesitant to shop around. 

But please take the time to try these books somewhere else. I’ve priced them at $15—the current price of a monthly subscription to Audible at their most common price point. You can get these books with no subscription and no credit. (Though you do have to buy on Spotify/Speechify’s websites—and not through their apps—because of monopolistic practices by certain providers. Something I’m not qualified to say much about currently. Besides, this rant is already too long.)

Each book you buy somewhere else helps break open this field. It will lead to lower prices, fewer subscription models, and better pay for authors. Plus, these partners I’ve gone to really deserve the support for being willing to try to change things. 

Whew. Okay. Rant over. Let’s talk print books.

PRINT BOOKS for BACKERS

The first book is being bound right now! We had a scare last month when the material for the covers didn’t arrive because of shipping delays, but Bill (our print book rep) worked some miracles and got things ushered along. Then we were hit with another setback: as we speak, a giant snow storm is descending on our printer’s location, and that’s going to delay the books even further, as we will not receive them until after the New Year. All of this will cause some slight delays on the first book, as we will need to package and ship the first box throughout the entire month. Some might stretch into February. We promise to do what we can to prevent that, but it might not be in our control. But fortunately, everyone will have their ebooks and audiobooks right on the first day. 

PRINT BOOKS for NON-BACKERS

These will take longer than the ebook/audiobooks to come out. You see, we knew supply issues could be a problem—it’s the story of all marketplaces these days. So we wanted to be extra, extra careful not to have these on sale too soon, lest we risk people being able to buy the books in stores before backers got their copies. (Which would be wrong.) However, in publishing, you have to pick dates like this super early for (again) supply reasons.

So we picked a three-month delay. When the second Secret Project goes out to backers, the first Secret Project will appear in bookstores in the English-language countries. At this point, you’ll have two options.

My publishers (Tor and Gollancz) will be releasing their own editions, in line with the other editions of my books you might have bought from them. Our Dragonsteel editions will remain the premium edition of the books, which we will sell ourselves. Both the books and the swag boxes will be available for pre-order on Dragonsteelbooks.com on the 10th of each month (at the same time as the audiobooks and ebooks are released to the public), but they will not ship until after we have completed backer shipments. The individual premium hardcovers (with the extra art, special cover treatments, etc.) will be $55, and all extra boxes will be $65.

I’m sorry for the long delay, but it was what felt right when we put these deals in place.

Whew. That was a long bit of information! Sorry to go on at length, but there was a lot to get through.

Brandon Sanderson

For the Shards of Adonalsium, which are basically the deities of the cosmere, I have picked things like Odium, Ruin, and Preservation, to be words that are really easy to... they mean something, you understand exactly what they are, there's going to be sixteen of them, so trying to remember all sixteen different names if they weren't something like that is going to be really hard. It makes it easier to keep which is which, it has an ominous feel to them, and they regionalize, translate into other languages really easily. So that's what I've done.

ailavyn-siniyash

The fact that Vorinism was partially inspired by Judaism and [???] means a lot to me, as a Jew, especially because there's not that much [???] other than dwarves. So thanks for that. I wanted to know if you could elaborate a little on some of the specific Judaism had on Vorinism.

Brandon Sanderson

Yeah, sure. Specific influences of Judaism on Vorinism. There are a couple of things. And I can go on this one for a while. I will pick Numerology which-- Jewish Numerology is really cool, particularly if you go back-- Like we always focus on alchemy and astrology as kind of the pseudosciences that were really interesting to scientists back in the day. If you don't know, Newton thought that alchemy was real and he could figure out how to make it work. I love these things that people approach scientifically but have supernat-- superstitious roots. And Jewish Numerology is really cool because the letters and numbers are basically the same thing, so a name can actually mean numbers, and vice-versa, and stuff like that. Which leads to some really cool and interesting attempts to understand the world by taking things from the Torah and transferring them back and forth between numbers and things. That sort of thing is very prevalent in the Vorin religion. To the point that it was really important to them, and then got forbidden. Because they were spending too much time on it. And you will find out roots about that. But that was an inspiration for Vorinism. Of course the Sephir, from the Tree of Life, were an inspiration for the Double Eye of the Almighty, and the idea behind all the different connections and philosophy going in that. The language. Kholin is actually pronounced /χolɪn/, and things like this--

ailavyn-siniyash

Was that-- Sorry... Was Kholin supposed to be kind of close to kohen? Because--

Brandon Sanderson

Yeah, mmhmm.

ailavyn-siniyash

Okay, cool.

Brandon Sanderson

So yeah, you're going to find all kinds of things like that in linguistic roots. And there is of course more but I will move on from that because I can talk too long on that. But yeah, there's some very fun stuff.

Brandon Sanderson

In this chapter, I also go a little bit into the linguistics of the novel. If you'd been able to figure out that "Dor" wasn't an Aon, then you were a step ahead of Raoden at this point. I realize it's probably too small a thing to have been of note, but I do actually mention the "Dor" one time earlier in the book. It's in the discussion where Galladon discovers that the republic has fallen. He says, "Only outsiders–those without any sort of true understanding of the Dor–practice the Mysteries."

...

Anyway, if you want more on linguistics, head over to the "goodies" section of the website. I've got a whole essay on the languages in Elantris over there.

Brandon Sanderson

Chapter Thirteen

Apparently, both the names "Elend" and "Straff" are words in German. I certainly didn't intend that, though I did try to make the names have a similar feel, since they're father and son. It's funny how often we fantasy writers come up with words that actually mean something in another language.

Drew Bailey

Reading the BoM Ch. 2 preview, would "welch on a promise" be an idiom in a universe without Wales? Is Earth in the Cosmere?

Brandon Sanderson (Part 1/Part 2/Part 3)

All cosmere books are to be read as if translated to our language. The translation often uses our idioms to convey ideas.

Usually, you should assume if we didn't translate it directly, it's something that wouldn't work too well in English.

For instance, using the name of a city in the Roughs where people are thought to be like that.

Drew Bailey

Very clever, solves a lot of problems. BTW, what would the Scadrial version be? Roughsmen are less trustworthy, roughed?

Brandon Sanderson

I often consider using something in-world, but you have to be careful about how much jargon you use. It can be off-putting.

Questioner

Is "Doomslug" Doomslug's real name?

Brandon Sanderson

"Doomslug" is not Doomslug's real name but Doomslug will accept that name from Spensa. Doomslug would have a name in Doomslug language.

Questioner

Are you going to try and pronounce that for us?

Brandon Sanderson

No.

Daniel Greene

You have ten books for the Stormlight Archive. Was that a limit you put on yourself because you knew it could go to twenty? Or it just happened, after you structured out the story, ten was what fit.

Brandon Sanderson

Ten was the number. Various worlds in the cosmere have this little number motif going on with them. And I was building ten in as a number motif, as well as nine. Nine and ten and the contrast between these two very similar but very, very different numbers.

And in the original outline, numerology was a much bigger deal, actually, in Stormlight. I was working a lot on the idea that I was using a language (Hebrew is a good example) where every word can also be a number, so you can have all sorts of funky numerology things. It comes up now and then in the published books, with… Various sketchy individuals will be into numerology.

But I knew I wanted a big series. And I knew I had ten characters. And I thought ten books, ten Orders of Knights Radiant, ten characters, it just fit really well. Ten felt like the right number after I did my real outline for it, back in 2009. I felt like I had the material for that, and it was too poetically appropriate for the series to not do it as ten.

Oudeis

Huh. I had always assumed the glyphs were more like the syllables in Japanese, where the symbols don't contain any of the phoneme information, directly.

Isaac Stewart

You are mostly correct. The glyphs are meant to be recognized rather than read. However, some phonemes do show up in some of the glyphs.

Oudeis

Kaladin just picked up a listener knife and noticed glyphs on it he didn't recognize.

Now, he can read glyphs, but he's not much of a scholar.

Are these glyphs even in the same linguistic family? Is Kaladin fluent enough with glyphs that he'd recognize if they were, to use an analogy, Korean symbols instead of Japanese symbols?

Isaac Stewart

The shape of the glyph matters more than the phonemes that make up the glyph. Over time, glyphs morph toward what's easier to write as people who know nothing of the internal phonemes take shortcuts, etc, so a hypothetical Kaladin who can suddenly read the phonemes inside glyphs would only be able to decipher the newer ones that haven't had a chance to morph over time. So, hypothetically speaking, Kaladin would be able to recognize glyphs no matter the symbols that make them up. The arrow-looking glyph from the forehead tattoos is also found in the Bridge 4 glyphpair. Both glyphs mean "bridge" even though the internal pieces of each are quite different. It's like us being able to recognize the letter R whether it's in Times New Roman font or in a wildly different font like Desire (https://www.myfonts.com/fonts/charlesborges/desire/). Hope this helps!

Oudeis

It does, yes! I figured it wasn't the phoneme meta-data.

Basically my question was, Kaladin looks at the glyphs on the listener daggers, whose providence we still don't really know, and seems to assume that although he doesn't know these specific ones, they are "glyphs" as he knows them. I don't speak too many European languages, but if I saw a series of words I suspect I'd have reasonable success sorting out which ones are Polish and which ones are not, just from knowing which letters tend to be common and what patterns tend to be prevalent.

So my question was simply... is Kaladin fluent enough that we can assume he's right, these symbols actually are glyphs in the manner he knows them, just ones he doesn't recognize? (Or the equivalent of very odd spellings?)

Or is he simply making an assumption; he knows what a glyph is, so if he sees something similar he just assumes it's a glyph, when it isn't anything close? We see the Alethi, even the bridgemen, do that a lot to the listeners, just being ethnocentric, judging the listeners by Alethi standards, assuming that Alethi culture is the basic standard and everyone else is a deviation from that.

Anyway, thank you for the answer!

Isaac Stewart

Sorry that I misunderstood your question. Now I see that you're referring to a specific spot in The Way of Kings. I just re-read the section you mentioned to re-familiarize myself with it. The glyphs he sees on the knife look different enough from the ones he knows to make him question their origin. It's not clear enough to me from the text to say definitively that the knife is of Alethi or Listener origin or from somewhere else altogether. (I suspect, though, that the knife is not Alethi in origin.) Kaladin is likely making an assumption--as you mention--that what he sees are glyphs. In the very least, they're symbols of some sort. Whether glyphs or letters in an unknown alphabet is up for speculation.

Staufar

Nomad and Auxiliary refer to each other as knight and squire, even though Auxiliary is also referred to as a spren. Auxiliary also calls himself dead, even though “dead” spren usually cannot talk. However, we know that cognitive shadows are also referred to as spren by various people on Roshar. Based on this language, can we infer that, at some point before Nomad left Roshar, surgebinders learned how to Nahel bond with the cognitive shadows of deceased Knights Radiant instead of true spren?

Brandon Sanderson

Excellent question, that is a stretch of an assumption.

Questioner

We know Elantris and all the other worlds have their own calendars. What does Scadrial's calendar look like, especially relative to Earth?

Brandon Sanderson

For those who don't know, the Mistborn world was designed as my earth analogue. Meaning, if you go look at Scadrial and say, "Does this creature exist on Scadrial?" It probably doesn't exist on Roshar, and it's a toss-up if it exists on Sel, the Elantris world. But on Scadrial, if I haven't said otherwise, you can guess that it does exist. And that's why the cultures and the languages and the linguistics, I just built that one to kind of be the familiar place. And that's because... so, you would say, like, seven-day week. Basically seven-day week, like our calendar-ish.

Roshar's, by the way, is pretty bizarre. Roshar is five-day week, set into fifty-day months, which there are ten months in the year, with a double-year cycle of highstorms. So, it's a thousand-day cycle with two years in between those. It's this really bizarre thing we came up with, but Roshar's supposed to have bizarre stuff.

Avatar_Yung-Thug

Quick question: I had a hard time "hearing" the Parshendi's singing in my head while reading The Way of Kings and Words of Radiance. Are there any real world examples you drew from you could give me so we have a better idea of what they sound like to you?

Brandon Sanderson

It was tough, as I didn't want to constrain their language in English to a certain rhythm, as I felt it would be too gimmicky on the page. I used Hindu chants in my head, though, so that might help.